Rules for reading Russian folk tales 2. Working materials. Recommendations for expressive reading of small folklore genres

Rules to make reading aloud fun:

1. Show your child that you enjoy reading aloud. Don’t mumble, as if handing over a long-tired duty. The child feels this and will lose interest in reading.

2. Show respect for the book. The child must know that this is not a toy. Teach children to handle books carefully. It is advisable to look at it on the table, take it with clean hands, and carefully turn the pages.

3. Maintain eye contact with your child while reading.

An adult should stand or sit facing the children so that they can observe facial expressions, eye expressions, and gestures, so these forms of expression of feelings complement and enhance the reading experience.

This way, the child listener feels that the story is addressed to him, and you can see how your reading makes him feel. You can notice which place in a fairy tale or story interests the child most; accordingly, this will allow the therapeutic and compensatory function of a work of art to be more fully realized.

4. Read to children slowly, but not monotonously, try to convey the music of rhythmic speech. All this enchants the child; he enjoys the melodiousness of the story and the rhythm of the verse. The role of the reader or storyteller in organizing home reading can hardly be overestimated. It depends on him what kind of atmosphere, what mood he will create, how he will direct the children’s attention, activate and calm them. An adult must have a subtle sense of what rhythm to read and when to reduce or increase the drama of a situation.

During the reading process, children should be periodically given the opportunity to talk about their feelings, but sometimes you can ask them to simply silently “listen to themselves.” The word “listen” means not only physical hearing, but also the ability to feel, sense a wide variety of “internal sounds”: from lightness, pleasant warmth, to tingling, a feeling of heaviness, unpleasant sensations.

5. Play with your voice: read sometimes faster, sometimes slower, sometimes loudly, sometimes quietly - depending on the content of the text, trying to convey the character of the characters in your voice, as well as a funny or sad situation, but not “overdo it.” Excessive dramatization prevents the child from reproducing in his imagination pictures drawn with words.

6. Shorten the text if it is too long, as the child still ceases to perceive what he hears. Briefly summarize the ending. However, when retelling, it is important not only to convey the idea and plot, but also to preserve the style of the work. In the process of storytelling, omissions and prolonged pauses are unacceptable. If you read a bedtime story, make sure the story has a happy ending.

7. Read fairy tales whenever the child wants to listen to them. Maybe it’s a little boring for adults, but for him it’s not.

8. Read aloud every day, make it a favorite family ritual. Be sure to continue family reading even when your child learns to read.

9. Do not persuade the child to listen, but “seduce” the child, let him choose the books himself.

10. From early childhood you need to select your personal library. Take your child to the bookstore and library more often. You should buy books gradually, choosing what interests children and what they understand. Set aside a corner at home for repairing books. Find time and help restore books.

11. Read aloud or retell books to your child that you yourself liked as a child. Before reading a book that is unfamiliar to you, try reading it yourself to direct your child’s attention in the right direction.

12. Draw children’s attention to the contents of the book and pictures, each time revealing something new, do not interrupt them from reading or looking at them. How to achieve this? All attributes of readable texts, any clarity, musical accompaniment can be varied and replaced with others, simplified or complicated.

13. Play out the impressions children received while listening to a fairy tale: give them the opportunity to act and express their emotions and feelings, their attitude to what they heard.

To do this, you can offer a conversation game with character dolls. They allow you to relate to the characters from your own position, which evokes in the child sympathy for the positive characters and indignation at the actions of the negative ones.

The more intense the emotional impact of a fairy tale, the more interesting and varied children's drawings. Experience shows that sometimes, after listening to a fairy tale, children do not know what to draw: they sit thoughtfully in front of a blank sheet of paper, twirl a pencil in their hands, etc. The fact is that the abundance of impressions prevents them from concentrating. In this case, you should not rush the child, much less scold him. After sitting for some time, he will still get to work and draw what impressed him the most and touched his emotional sphere. Therefore, children's drawings made after listening to a fairy tale contain a lot of information. By carefully looking at them, analyzing their theme, content, character of the image, means of expression, etc., you can find out how children imagine this or that fairy-tale character, which of the fairy-tale characters evoked the greatest emotional response in them, liked them the most, why, etc.

Homework for a popular science book:

1. Reading by adults to children about animals that are mentioned in the fairy tale.

2. Children draw any animal they like.

1. The pedagogical value of reading fairy tales.

2. Classification of fairy tales, their genre uniqueness.

3. Specifics of studying fairy tales in primary school.

Children's literature– this is something created by masters of words especially for children.

Literature for children's reading– i.e. works that are read by children.

In children's folklore, it is necessary to distinguish between works by adults for children, works by adults that have become children's over time, and children's creativity in the proper sense of the word.

The children's folklore of the Russian people is unusually rich and diverse. It is represented by heroic epics, fairy tales, and numerous works of minor genres.

Folk tales have long been included in children's reading. Now their unconditional value is recognized, but back in the 20s of our century, some teachers and literary critics denied fairy tales the right to be included in children's books. Fantastic fiction was identified with superstition and religion. Judgments about the dangers of fairy tales were combined with a general denial of the importance of cultural heritage necessary for the aesthetic education of children in a socialist society.

Nihilism and vulgarization in pedagogical science were condemned by the Soviet public. Back in 1934, S. Ya. Marshak said: “Let's take... a fairy tale. Many of our inhabitants have the idea that the revolution killed the fairy tale. I think this is a misconception."

The entire practice of Soviet pedagogical science, the practice of children's publishing houses has proven the high value and importance of including folk tales in children's books, and especially in books that are introduced to preschoolers.

The most common view fairy tales that a child becomes familiar with early on - tales about animals. The animals and birds in them are both similar and not similar to real ones. A rooster walks in boots, carries a scythe on his shoulder and shouts at the top of his lungs that the goat should get out of the hare's hut, otherwise he will be hacked to death (“Goat-dereza”). A wolf catches a fish - he lowers his tail into the hole and says: “Catch, fish, both small and large! (“The Fox and the Wolf”). The fox informs the black grouse about a new “decree” - the black grouse should walk through the meadows without fear, but the black grouse does not believe it (“The Fox and the Black Grouse”). It is easy to see implausibility in all these tales: where have you seen a rooster walking with a scythe, a wolf catching fish, and a fox persuading a black grouse to come down to the ground? A child takes fiction for fiction, just like an adult, but he is attracted to it by its unusualness, its dissimilarity to what he knows about real birds and animals. Most of all, children are interested in the story itself: will the goat be driven out of the hare's hut, how will the obvious absurdity of catching a fish with its tail end, will the fox's cunning plan succeed. The most elementary and at the same time the most important ideas - about intelligence and stupidity, about cunning and straightforwardness, about good and evil, about heroism and cowardice, about kindness and greed - lie in the consciousness and determine the norms of behavior for the child.

Fairy tales establish the child in the right relationship to the world. The grandfather, the grandmother, the granddaughter, the Bug, and the cat pull the turnip - they pull and pull, and do not pull out the turnips for them. And only when the mouse came to the rescue did they pull out the turnip. Of course, the capacious artistic meaning of this ironic tale will become fully understandable to a little person only when he grows up. Then the fairy tale will turn out to him with many facets. The only thing a child can understand is that no amount of strength, even the smallest one, is superfluous in work: how much strength is there in a mouse, but without it they couldn’t pull a turnip.

“The Pockmarked Hen” in the folk version, well represented, for example, in the adaptation of the writer A.N. Tolstoy, carries an equally important idea for education. The chicken laid an egg, the mouse ran, waved its tail, the egg fell and broke. The grandfather began to cry, the grandmother began to sob, the gates creaked, chickens flew up, the doors were askew, the tyne crumbled, the top of the hut began to shake. And all the commotion is from a broken egg. Much ado about nothing! The fairy tale laughs at the trivial cause of so many absurd consequences.

Children early learn to correctly assess the size of phenomena, deeds and actions and understand the funny side of all life inconsistencies. The cheerful and perky Kolobok is so confident in himself that he himself did not notice how he became a braggart, flattered by his own luck - so he was caught by the fox (“Kolobok”). The fairy tale about the little house tells about the friendly life of a fly, a mosquito, a mouse, a frog, a hare, a fox, and a wolf. And then the bear came - “oppressing everyone” - the tower was gone (“Teremok”). Every fairy tale has a moral that a child needs, because he must determine his place in life and learn moral and ethical standards of behavior in society.

It has been noticed that children easily remember fairy tales about animals. This is explained by the fact that folk pedagogical experience correctly captured the characteristics of children's perception. The fairy tales “Turnip”, “Ryabka Hen”, “Kolobok”, “Teremok” and some others hold the child’s attention with a special composition: episode clings to episode, often they are repeated with the addition of some new detail. These repetitions promote memory and understanding.

Fairy tales about animals can be called children's stories because they contain a lot of action, movement, energy - what is also inherent in a child. The plot unfolds rapidly: the chicken quickly, headlong, runs to the mistress for butter - the rooster swallowed the grain and choked, she sends her to the cow for milk. The chicken goes to the cow, she asks the owner to give her some fresh grass, etc. In the end, the chicken brought butter, the rooster was saved, but how much does he owe for salvation! ("The Cockerel and the Bean Seed"). The irony of the fairy tale is clear to the child; he also likes the fact that the hen managed to overcome so many difficult obstacles so that the cockerel survived. Happy endings to fairy tales correspond to the child’s cheerfulness and his confidence in the successful outcome of the struggle between good and evil.

There is a lot of humor in animal stories. This is their wonderful property develops at For children, the feeling of the real and simply amuses, entertains, pleases, and sets in motion their spiritual strength. However, fairy tales also know sadness. How sharply contrasting are the transitions from sadness to joy here! The feelings talked about in fairy tales are as vivid as children's emotions. It is easy to console a child, but also easy to upset him. A hare is crying at the threshold of his hut. The goat kicked him out. The rooster chased away the goat - the hare's joy has no end. The listener of the fairy tale is also happy.

A sharp distinction between positive and negative in the nature of fairy tales. A child never has any doubts about how to relate to this or that fairy-tale character. The rooster is a hero, the fox is a cunning deceiver, the wolf is greedy, the bear is stupid, the goat is deceitful. This is not primitiveness, but that necessary simplicity which must be mastered by the baby before he is ready to perceive complex things.

There are many songs in fairy tales about animals: the fox sings a flattering song to the rooster: “Cockerel, cockerel, golden comb, butter head, silk beard...”; The rooster also sings, calling the cat for help: “The fox is carrying me through the dark forests...”; the goat sings in front of the door of the house: “You, kids! You little goats! Open up, open up..."; the wolf, the bear and other characters sing. Fairy tales are replete with funny proverbs: “a fox is beautiful when talking,” “a bow-legged bunny jumps up a hill,” “a squeaky mosquito,” “a squeaky fly,” etc. The song-rhythmic beginning imparts a strong emotional expression to the narrative, diversifies it, and gives the tale features of the unusual, properties of the game. Songs and funny sayings are so expressive that they live independently, concentrating the poetic meaning of fairy tales in a compressed rhythmic and playful form. Having sunk into memory, fairy tales become an inseparable part of a child’s consciousness.

Older preschool children like it fairy tale. The development of action, associated with the struggle of light and dark forces, and wonderful fiction are equally attractive to them.

Russian fairy tales have created an amazingly vibrant, intricate world. Everything about it is extraordinary: people, land, mountains, rivers, trees, even things - household items, tools - and they acquire wonderful properties in fairy tales. The ax cuts down the forest itself; a club beats enemies, a mill grinds grain; the stove talks; the apple tree covers with its branches children running from the geese-swans sent by Yaga; a flying carpet takes off into the sky; a small chest contains a large city with inhabitants, houses and streets.

This fairy-tale world awakens and develops the child's imagination. The kid follows with warm sympathy everything that is said in the fairy tale: he rejoices at the victories of Ivan Tsarevich, the miracles of Vasilisa the Wise, and is saddened by their misfortunes.

The child is especially touched by the fate of the heroes placed in circumstances that are close and understandable to him. The action in such tales often takes place within a family. The father and mother told the daughter not to leave the yard, to take care of her brother, but the girl began to play and go on a spree - and her brother was carried away by the geese-swans (“Geese-swans”). Brother Ivanushka did not listen to his sister - he drank water from a goat’s hoof and became a goat (“Sister Alyonushka and Brother Ivanushka”). A kind orphan suffers persecution from an evil stepmother (“Khavroshechka”, “Morozko”). The development of actions invariably includes ethical motivations: injustice becomes a source of suffering and misadventures; successful endings always eliminate contradictions to the norms of justice. A fairy tale teaches a child to evaluate the deeds and actions of people in the light of the correct concepts of what is good and what is bad.

In fairy tales there are no irreparable misfortunes in life, but at the same time they do not hide the fact that the real world knows severe human suffering, but everything ends happily thanks to a miracle. The imaginary miraculous victory of good over evil always activates the child’s feelings. The need for justice, the desire to overcome life's adversities forever become part of his worldview. This is extremely important for developing a person’s vitality and the qualities of a fighter for justice.

A fairy tale with its harmonious composition teaches a child to think logically: the events in it unfold in strict sequence. The tale captures the dynamics of the plot. The closer the end is, the sharper and more intense the relationships between the characters become. Very often, having brought the hero to the moment of almost complete achievement of the goal, the fairy tale allows for a sharp turn of events to the starting position - and again he begins the fight for the triumph of justice. This technique helps the child understand that achieving a goal requires perseverance, loyalty to duty, and the desire to win at any cost.

In a fairy tale, the characters and characters from beginning to end are endowed with certain virtues or vices.

Fairy tale heroes always remain true to their characters, no matter what happens to them. For a child, this feature of fairy tales is very important: this is the necessary simplicity of human relationships that must be mastered before he learns to understand the complexity of people’s affairs and actions.

Fairy tales are characterized by the following compositional feature: repetition of an episode three times with subsequent intensification of the effect. Ivan Tsarevich fights with three snakes, and each new opponent is stronger than the previous one: a three-headed one is replaced by a six-headed one, a six-headed one by a nine-headed or twelve-headed one; The Sea Tsar sets three difficult tasks for Ivan Tsarevich - and each new one becomes more and more difficult; The hero accelerates his faithful horse three times with the intention of jumping to the top window in which the princess sits, and only the third time he achieves his goal.

The technique of repeating three times has a special meaning in every specific case. In the tale of Sivka-Burka, the thrice-repeated galloping on horseback past the princess’s tower indicates the extraordinary difficulty of achieving the goal. In another fairy tale, the threefold repetition of an episode has a different meaning. Three times the daughters went to spy on Khavroshechka, and only the third time, due to an oversight, she did not keep the secret. The third time turned out to be fatal. So, this last, third episode turns out to be either happy or unhappy.

Fairy tales vividly convey the details of human experiences and thus excite the imagination of listeners.“The elders left,” says the fairy tale “Geese and Swans,” “and the daughter forgot what she was ordered to do, sat her brother down on the grass under the window, and she ran outside, played and took a walk. Geese-swans swooped in, picked up the boy, and carried him away on their wings. The girl came, and lo and behold, her brother was gone! She gasped, rushed here and there, no! She called, bursting into tears, wailing that it would be bad from her father and mother, but her brother did not respond! She ran out into an open field: geese and swans darted in the distance and disappeared behind the dark forest.” The girl’s carefree play is conveyed by the words: “I started playing and going on a spree,” and then suddenly, as if my heart sank: “Look, my brother is gone!” Fright, then a search with the gradually disappearing hope of finding her brother and, finally, bitter despair: “She called, bursting into tears, wailing... the brother did not respond!”

The construction of phrases and the selection of words are determined by the nature of the content. A calm narrative gives way to a rapid one when it comes to sudden and quick actions - this is achieved with the help of verbs of movement. About geese-swans, for example, it is said this way: “they swooped in,” “picked up,” “carried away,” “darted,” “disappeared,” etc. The selection of verbs clearly conveys the dynamics of events and the severity of the situation. At the same time, the little listener becomes, as it were, a participant in what is happening, actively empathizing with the heroes of the fairy tale.

Storytellers reproduce the world in all its objective materiality, in the variety of sounds, in the brilliance of colors. Fairy tales are filled with sunlight, forest noise, the whistling of the wind, the dazzling brilliance of lightning, the rumble of thunder - all the features of the world around us. The night in fairy tales is dark, the sun is red, the sea is blue, the swans are white, the meadows are green. These are all thick deep colors, not halftones. The hero’s sword is sharp, the palaces are white stone, the stones are semi-precious, the tables are oak, the pies are wheat, etc. Things and objects have clear forms: their material and quality are known. Everything taken together makes the fairy tale an example of the national art of words. The art of fairy tales has deep roots in the culture and language of the people.

A fairy tale is one of the most important literary genres that children encounter already in early childhood.

Through fairy tales, a child masters the language of his people, begins to understand its beauty, and becomes acquainted with With native nature, customs, way of Russian life, learns to overcome difficulties, fight evil; the child develops a desire to be kind, sympathetic, hardworking, and brave.

The name itself fairy tales(derived from the word say- speak, tell) determines the form of its execution. A fairy tale is read (from a book or by heart) always in a simple, conversational manner. The teacher turns to the children, as if wanting to reproduce for them a story, an event, a case that he himself witnessed (a common fairy-tale formula: “I was there”) or which he knows well and clearly imagines (“Once upon a time there was a cat and a rooster”).

Natural communication with children is one of the main conditions for reading a fairy tale. The need to comply with this condition is dictated by the text of the fairy tale itself, which constantly contains either an appeal to the listeners; “And now the cat, the rooster and Zhikharka live in this hut, they are waiting for you and me to visit you” (“Zhikharka”), or the question: “Whoever doesn’t believe it, let him see whether the chickens are running around the yard or not” (“Visiting the Sun” "), or an indication: “Guess what - guess for yourself” (“The Boy and the Evil Bear”).

When reading a fairy tale, the teacher must constantly make sure that his speech is addressed to the children, sounds lively, naturally, so that the children carefully follow the development of the plot, actively experience the events, together with the teacher worry about the fate of the characters, and rejoice at the happy ending.

Every fairy tale is based on reality. Every fairy tale has elements of reality: if you presented children with a fairy tale where the rooster and the cat did not speak human language, they would not be interested in it.

The fantasy of a fairy tale is in connection with reality, is subordinated to life’s tasks and conveys the real aspirations of people, their dreams and desires. This feature of the fairy tale requires reading it in intonations usual for everyday communication. Some mystery, characteristic of fairy tales, must be observed in the beginning, which, as it were, introduces the child into a fairy-tale world, where everything can be unusual, as well as the transfer of wonderful events.

Fairy tales are built on the principle of antithesis: good is opposed to evil (“The Fox, the Hare and the Rooster”), hard work versus idleness (“Little Khavroshechka”), intelligence versus stupidity (“The Fox and the Goat”), etc. This feature of fairy tales must be taken into account when reading. Places in which the opposition is given especially clearly should be highlighted with a voice and the students’ attention should be focused on them.

Emphasizing contrasting places enhances the impression of the fairy tale, makes it especially understandable to children and leads them to the correct perception of the conclusion that follows the contrast.

In fairy tales, heroes are presented in a straightforward manner. The development of character, the evolution of images, as a rule, is absent in the nickname. Fairy-tale heroes or bearers of good, endowed with various positive traits (humanism, honesty, justice, courage, hard work, etc.), for example, the stepdaughter (“Morozko”), Ivan (“The Little Humpbacked Horse”), Masha (“The Girl and the Bear”) "), rooster ("Fox, hare and rooster"), or carriers of evil, who are characterized by all sorts of negative qualities (day, deceit, greed, hypocrisy, hypocrisy, etc.) for example, three daughters of the owner ("Little Khavroshechka"), Baba Yaga (“Geese-swans”), wolf (“Kids And wolf"), etc.

The peculiarity of the characters of heroes and fairy tales determines the originality of their reading. The teacher should convey each of them in such a way that the children immediately, from the very first mention, understand who will be discussed, what this hero is like, how to relate to him, sympathize with him or, conversely, condemn him, be indignant at him. Reading positive characters will require a warm attitude from the reader, affectionate, approving intonations. The reproduction of negative characters will correspond to dry, hostile intonations that convey dissatisfaction, condemnation, and indignation.

So, for example, in the fairy tale “Little Khavroshechka” the place or ode for the first time mentions the heroine: “It was with such and such that Tiny Khavroshechka ended up. She was left an orphan, these people took her, fed her and overworked her: she weaves and spins, she cleans up, she is responsible for everything,” should be read sympathetically, warmly, affectionately, highlighting the words “Little Khavroshechka”, “she stayed an orphan” in order to immediately evoke sympathy for her, the sympathy of children. The words “these people took her, fed her and starved her to death: she melts and spins, she cleans up, she is responsible for everything” should sound like an appeal to children, so that they become keenly interested in her fate, think about what to do, how to help Khavroshechka.

The action in the fairy tale begins immediately (“Grandfather planted a turnip...”, “A horse’s head was lying in the field...”, “A fox was walking along the path and found a rolling pin...”, “Two orphans are walking - brother Ivanushka and sister Alyonushka. ..") and is constantly evolving. One picture gives way to another.

Let's take for example the fairy tale “The Fox, the Hare and the Rooster.” As soon as the fox kicked the hare out of the hut, he already met dogs, the dogs ran away - he met a bear, the bear left - he met a rooster, etc.

Each picture of an occasion depicts a specific case, a complete episode in which certain characters participate. When reading, you should think very carefully about the episodes, understand their significance for the overall development of the action, and clearly imagine the characters.

So, when reading the meeting of a hare with a bear (“Fox, hare and rooster”), you need to correctly verbally reproduce the image of the bear: note its size, clumsiness, read in a low voice, slowly, highlighting the words that characterize it especially vividly: “bear”, “ roared,” “left.” Compared to reading the previous episode (the meeting of the hare with the dogs), this episode needs to be read more significantly, since the tension in it increases. By passing it on, the teacher should strive to increase children’s interest in the development of the plot, make them worry more about the fate of the bunny, tensely wait for the result from the bear’s promise and feel dissatisfaction when he is frightened.

Since the pictures in a fairy tale depict a completed specific case, each of them, when reading, is separated from the subsequent one by a long pause. This allows the child to understand the episode he has read, experience what it is about, determine his attitude towards the characters and prepare to listen to the next picture.

Fairy tales always have a happy ending: good wins, evil is punished. This feature must be remembered when reading. The end should be read somewhat slowly, conveying satisfaction in intonation, so that children feel the joy of a happy ending.

The fairy tale has its own artistic techniques developed over centuries, which must be strictly observed when reading. This is primarily a technique of three repetitions. Episodes in fairy tales are usually repeated three times. Three times Morozko addresses his stepdaughter (“Frosty”), three times the Fox visits the villages (“Fox with a rolling pin”), three times Vasilisa the Wise carries out the king’s tasks (“The Frog Princess”), etc.

The technique of repeating three times has great semantic meaning. It conveys a gradual increase in tension, which in the third case reaches its highest point and is the climax, after which a turning point in the action occurs.

So, for example, in the fairy tale “Geese and Swans”, for the first time the girl only noticed the geese sent for her by Baba Yaga. The second time the geese were very close: “they are flying towards”, “they are about to see her and her brother.” The tension is growing, and the geese are about to catch up with the girl. For the third time, the geese-swans “saw her, cackled, swooped in, beat her with their wings, and in no time they would tear her brother out of her hands.” And only after this third repetition did the geese “fly away empty-handed to Baba Yaga.”

Repetitions excite children and help them better understand and remember the fairy tale. Therefore, they must be observed when reading: highlight words that convey an increase in tension, pronounce the last repetition especially significantly, since it is a moment of highest tension, alerts the children and prepares them for the perception of what will follow it. Repetitions add rhythm to the fairy-tale style and dictate that the presentation should not be rushed.

Fairy tales are characterized by stable expressions (“I washed my face with tears”, “like cheese rolling in butter”, “tree by tree”, “bush by bush”, etc.), constant epithets (“plum apple”, “dark forest”, “ open field”, “milk river”, “jelly banks”, etc.), tautological repetitions (“strained and cried”, “they live and live”, “I waited and waited”, “I played and went for a walk”, etc.) These artistic techniques are of great importance for creating a certain fairy-tale image or action. They enhance the impression, make images and actions tactile, concrete, poetic and understandable; tautological repetitions contribute to a vivid perception of an action or state, and increase tension. Therefore, when reading, all these techniques must be taken into account: stable expressions, epithets, emphasized in the voice, conveyed emotionally, so that children understand the meaning and feel their beauty. Tautological repetitions should be pronounced at a slow pace, with some melodiousness; this will enable students to better understand their meaning and perceive the rhythm.

Rhymed songs are often woven into the text of the occasion. These songs are organically related to the content of the fairy tale. They convey the state or mood of the hero (brother Ivanushka’s plaintive song from the fairy tale “Brother Ivanushka and Sister Alyonushka”), express his intention (the bear’s song from the fairy tale “Linden Leg”), and serve as a conventional sign (the goat’s song from the fairy tale “The Little Goats and the Wolf”). , are used as a luring technique (the Fox's song from the fairy tale “The Cat, the Rooster and the Fox”), etc. Therefore, reading them should not stand out from the general transmission of the text of the fairy tale. The teacher can sing them to a simple tune that is most suitable for revealing the content of the song, or recite them, observing intonations that will most clearly convey the meaning of the song, the character and mood of the hero who sings it.

So, for example, when reading Brother Ivanushka’s song (“Brother Ivanushka and Sister Alyonushka”), the teacher should clearly show Ivanushka’s condition, his mood and the danger that threatens him:

Alyonushka, my sister!

Swim out, swim out to the shore.

They build fires high,

The flammable fires are burning,

Boiling cauldrons are boiling,

They sharpen damask knives,

They want to kill me!

The first two lines must be read so that the children feel Ivanushka’s plaintive request and understand that Alyonushka is the only close person for him, on whose help he can count. These lines will require a low voice, some melodiousness, and plaintive intonations. The words “my sister” must be pronounced tenderly, affectionately, as they convey Ivanushka’s love and affection for her sister.

The reading of the subsequent lines should be done in such a way that the students realize what a terrible danger threatens Ivanushka and become worried about his fate. Before the last phrase: “they want to slaughter me,” you need to pause, since this phrase explains why “they make fires,” “lights burn,” “sharpen knives.” Staging it will increase tension. When reading songs, it is necessary to observe a pause between verses; it emphasizes their rhythm and contributes to a clearer perception of what is said in each line.

One of the characteristic features of the tale is its laconicism. The fairy tale is sparing of words, there is nothing superfluous in it. Each of her tins is weighty, meaningful, dynamic, extremely rich in content, apt and poetic.

So, for example, while painting a picture of an unbearably hot summer day (“Brother Ivanushka and Sister Alyonushka”), the fairy tale is limited to brief remarks: “The sun is high, the well is far away, the heat is pestering.” The curiosity of the rooster, the cunning and dexterity of the fox (“Cat, Rooster and Fox”) are conveyed in just one phrase: “The cockerel looked out, and she grabbed him with a scratch and carried him,” and the speed of the fox’s actions is conveyed in one expression: “Scratch-scratch "

These features of the language of a fairy tale: the brevity of phrases, the significance of words, the frequent inversion inherent in spoken language, require the reader to be especially sensitive to each phrase and expression. The teacher must think about the words of the fairy tale, see the action, the picture, the mood of the hero behind them. Only in this case will his reading be lively, vivid, and emotional.

When reading a fairy tale, you need to pay attention to its humor. Skillfully conveyed, it always pleases children and gives them pleasure. The stupid goat listened to the advice of the sly fox, jumped into the well and got into trouble (“The Fox and the Goat”); Baba Yaga, confident in her dexterity, turns out to be fooled by a mouse (“Geese-Swans”); The bear, not suspecting that Mashenka is sitting in the box, is surprised that she is so “big-eyed - she sees everything.”

In order for children to understand the humor of the occasion, the teacher must read passages depicting the absurdity of the situation into which stupid and evil heroes find themselves, with slyness and irony, and highlight words that emphasize the comedy of the situation. For example:

The fox sat on the wolf back, he and her suffered.

Is sitting fox yes slowly speaks:

Beaten unbeaten lucky, beaten unbeaten lucky.

- What are you there, Foxy, are you talking?

And I say: beaten broken lucky.

- So, Darling, So!

(Russian folktale

"Sister Fox and Gray Wolf")

The tales included in the program can be divided into two groups: tales about animals and fairy tales.

Tales about animals are told mainly to students in grades I-II. They are small in volume, simple in content and form. Their plot is realistic.

Reading these tales is characterized by a natural conversational intonation with all its shades.

Fairy tales about animals are based on a meeting (“Teremok”, “Fox, Hare and Rooster”) and have a dialogical form.

When reading, the speech of each character is conveyed with strict consideration of his character and behavior. Thus, the speech of a goat (“Kids and the Wolf”) will require intonations that reproduce care for the kids, concern for them. The character of the wolf and his insidious intentions will dictate to the narrator a slower pace and lowering of his voice (the wolf “howled in thick stripes”).

The liveliness of telling tales about animals is also determined by their language, bright, emotional, close to colloquial speech.

The action of fairy tales about animals develops quickly. Multiple repetitions of the same episode play a big role. For example, a hare, kicked out of his hut by a fox (“Fox, Hare and Rooster”), meets dogs, a bear, a cockerel, and repeats the story of his misfortune to everyone in exactly the same way. Multiple repetitions give the fairy tale life and help children remember it.

Many fairy tales about animals are chain-like (or cumulative), which are characterized by increasing repetition (for example, “Turnip”, “Kolobok”). When conveying repetitions, the narrator must highlight what is new that appears in them.

In fairy tales about animals, nicknames are often found (mouse-norushka, frog-frog, cockerel-golden-comb) and onomatopoeia (kook-ka-re-ku! aw-aw-aw! be-e, bz-e! oink - oink! gagak-gagak!), which contribute to the concretization of the image and require correct transmission when reading.

Fairy tales are more complex than fairy tales about animals, both in content and form. They tell about the unusual fate of a hero who, enduring hardships and overcoming exceptional difficulties, wins victory over evil and insidious forces thanks to his high moral qualities (“The Frog Princess,” “The Little Humpbacked Horse,” “Geese and Swans”).

A fairy tale uses many additional artistic techniques to help reveal its content more clearly. You should definitely pay attention to them when reading.

A fairy tale is often preceded by a saying (condensed or expanded). It is figurative and rhythmic. For example: “Grandfather Yegor is coming from behind the forest from the steep mountains. Himself on a filly, wife on a cow, kids on calves, grandchildren on puppies. We drove down from the mountains, lit a fire, eat porridge, listen to a fairy tale.” Or: “It was This the case is at sea, on the ocean, on the island of Kidan, there is a golden crown tree; A bayun cat walks along this tree, goes up and sings a song, and goes down and tells fairy tales. That would be interesting and entertaining to watch! This is not a fairy tale, but there is still a saying, but the whole fairy tale lies ahead.”

The saying is not related to the content of the fairy tale. Its purpose is to focus the listener’s attention, tune him into a special mood, and introduce him to the world of the unusual and fabulous. Reading it should arouse children's interest, make them concentrate, and become alert. It should be pronounced at an average pace, clearly, observing the rhythm, highlighting the words and phrases that are the most figurative, vivid, characteristic of the fairy tale: “on the sea, on the ocean”, “golden poppies”, “cat-bayun”, etc.

The last phrase of the saying must be emphasized, read more slowly, with interest, so that the students feel that the bot-yot fairy tale will begin. After reading the saying, you need to take a long pause. This will give the children the opportunity to concentrate and prepare for listening to the story.

A fairy tale begins with a stable fairy-tale opening formula: “In a certain kingdom, in a certain state”, “Once upon a time”, “Under King Pea”, “In the distant kingdom, in the thirtieth state”, etc.

The purpose of the beginning is to introduce the listener to the world of fairy tales, where everything can happen and everything can be expected. The beginning is read slowly, a little melodiously, somewhat mysteriously, in order to prepare children for the perception of the wonderful story.

A fairy tale, to a greater extent than fairy tales about animals, is characterized by the trinity technique (three kingdoms, three sisters, three brothers, three wishes, three riddles, three appeals, etc.). This fairy-tale technique causes leisurely reading and concentrates the listener’s attention on the last, third character, action, obstacle, etc., which are the most important and therefore require highlighting them in a voice: “And the hostess had three daughters. The eldest was called

One-eyed, the middle one - Two-eyed, and the smaller one - Three-eyes"(“Little Khavroshechka”). During the development of the tale, Three-Eyes will play a decisive role in the fate of Khavroshechka, therefore, when reading passages that tell about the daughters of the mistress, one must take a psychological pause before the words “Three-Eyes”, and put emphasis on the word itself.

In a fairy tale there are especially many traditional formulas and commonplaces: “Soon the fairy tale will tell, but the deed will not be done soon”, “Don’t worry, go to bed, the morning is wiser than the evening”, “Sivka-burka - said the kaurka is running, the earth is trembling, smoke is coming out of her nostrils , flames are blazing from the ears”, “Baba Yaga - a bone leg rides in a mortar, drives with a pestle, covers the trail with a broom.” These traditional formulas give the fairy tale imagery, special charm, poetry and determine the smoothness of its narrative. Therefore, when reading, you need to pay attention to them: highlight them with hunger, read slowly, maintain rhythm and emphasize rhyming words.

A large role in a fairy tale is played by the technique of stepwise narrowing, when the number of objects is reduced to one - the most important thing, decisive in the fate of the hero. For example, in the fairy tale about Koshchei the Immortal: “There is a pine tree, / on a pine tree - casket, / in the casket - duck,/ in duck- egg, / in the egg - needle, / at the end needles/ - death of Koshchei". Reading such places in a fairy tale should not be done quickly, strictly observing logical stresses, pauses, and highlighting words containing a new concept. The voice should gradually become stronger. It is especially important to read the last words: “the death of Koshchei,” before which you need to pause.

The language of a fairy tale is more picturesque and complex than fairy tales about animals. Phrases are longer. There are, albeit brief, descriptions of nature: “The snowy winter has come, there are snowdrifts up to the waist” (“The Snow Maiden”), actions: “And at home the old woman is baking pancakes” (“Morozko”), the experiences of the heroes: “One little goat found out everything; He doesn’t eat, doesn’t drink, walks along the shore and screams pitifully” (“Brother Ivanushka and Sister Alyonushka”), which are of a real nature.

When conveying everyday details, pictures of nature, and the hero’s state of mind, the reader should use ordinary conversational intonations characteristic of an everyday interview. This will give children the opportunity to vividly perceive the fairy tale and feel its real basis.

A fairy tale often ends with the ending: “And I was there, honey, drinking beer, it flowed down my mustache, but it didn’t get into my mouth,” “They began to live and live well, and make good money,” “Here’s a fairy tale for you, and I got a bunch of bagels,” and etc. The purpose of the ending is to relieve the attention of the listeners, to return them to everyday life. It is read in a normal conversational manner. Before the ending, there is a significant pause after it, which separates it from the general fairy-tale narrative. The ending is pronounced somewhat slyly, as if emphasizing the unusual nature of the actions of the fairy tale.

An approximate analysis of the fairy tale “Morozko”

The fairy tale “Frost” is one of the poetic fairy tales of the Russian people. It tells about the plight of a modest, hardworking stepdaughter, who was awarded Morozka for her respectfulness, modesty and kindness. The main idea of ​​the fairy tale is the triumph of justice, the affirmation of goodness.

The fairy tale is based on opposition: the good stepdaughter is contrasted with the old woman’s evil daughter; an envious, treacherous stepmother to the fair and generous Morozka.

The heroine of the fairy tale, the stepdaughter, is endowed with high moral qualities, thanks to which she is helped by a magical creature, Morozko, and sympathized with by a wonderful dog that speaks in a human voice.

The narrator’s task is to arouse sympathy for the stepdaughter in children, condemn the evil stepmother and her daughter, show the triumph of justice, convey the optimism of the fairy tale, and let them feel the beauty and poetry of the fairy tale language. The fairy tale begins with a story about the hard life of her stepmother with her stepmother. By passing it on, the teacher needs to arouse in the children a positive attitude towards the stepdaughter, to show the irresponsibility and hard work of the girl who “watered and fed the cattle, carried firewood and water to the hut, stoked the stove, chalked the hut - even before the light of day...”. The phrase: “Nothing can please the old woman - everything is wrong, everything is bad” - must be pronounced indignantly, highlighting the words “nothing”, “everything is wrong”, “everything is bad”, so that the listeners feel the old woman’s injustice.

It is necessary to show the difference in the attitude of the stepmother to the stepdaughter and natural daughter. The phrase: “Everyone knows how to live with a stepmother: if you turn over, you’ll be beaten, and if you don’t cook enough, you’ll be beaten,” say contritely, turning directly to the children, as if seeking their sympathy. In the phrase: “And my own daughter, no matter what she does, she pats her on the head for everything: clever girl” - there should be disapproval, the word “clever girl” should be read with irony, mockery, without praise, so that the children understand the arrogance of the unjust stepmother and feel pity for poor stepdaughter.

The words: “...I decided to kill my stepdaughter from the world” should be emphasized, since they contain a message about the stepmother’s insidious plan. In the old woman’s address to the old man: “Take her, take her, old man” - it is necessary to convey an order, to show the power of the stepmother over her husband. You should not speak loudly, imitating the voice of an old woman. It is enough to say decisively, imperatively, highlighting the words “into the forest”, “into the bitter cold”, to note the old woman’s cruelty and arouse concern for the fate of her stepdaughter. When conveying the image of an old man, it is necessary to highlight his pity for his daughter and at the same time show lack of will, complete obedience to his evil wife. The words “heaved”, “cried” should be emphasized; address to his daughter: “Sit down, dear daughter, in the sleigh” - say warmly, sadly, hopelessly, so that it is clear that he cannot help her in any way.

The scene in the forest where the stepdaughter meets Morozka requires special attention from the reader: the forest is cold and harsh; the girl “sits under the fir tree” alone, “trembling, chills creeping through her.” The reader’s voice should contain pity for the stepdaughter and concern for her.

When describing Morozno’s meeting with his stepdaughter in the fairy tale, the technique of three-fold repetition is used: seeing the girl, Morozno turns to her three times with the question: “Are you warm, girl?” - and only after the third answer does the stepdaughter reward her. Morozko, the fairy-tale master of winter, is depicted in the fairy tale in a bright, poetic way. He “crackles through the trees, jumps from tree to tree, clicks.” He addresses his stepdaughter confidently, at first sternly, and then, touched by her kindness, affectionately and at the same time expectantly, as if testing her. Therefore, after each question it is necessary to pause so that the children can experience Morozko’s change in mood.

His three-time repeated appeal to his stepdaughter reflects the increase in tension, which must be conveyed in his voice, highlighting words that especially vividly depict this tension: “lower,” “more dense,” “stronger.”

The story about the award should convey joy and satisfaction with the decision of Morozko, who “took pity on the girl.”

A talking dog plays an important role in the fairy tale. She does not help her stepdaughter, but expresses sympathy for her and suggests the development of events. You need to read it with conviction, confidence, pausing after the words “tap-tap!”, which sound like a kind of imitation of a dog’s bark, which always attracts children and gives them pleasure.

The paragraph: “Suddenly the gates creaked...” should be read slowly, somewhat in surprise, in order to more clearly convey the old woman’s bewilderment and her envy. Appeal to the old man: “Harness another horse, you old bastard!” - will require from the reader imperative intonations, a faster pace, since the old woman, angry with the well-being of her stepdaughter, is in a hurry to achieve the same for her daughter.

The reading of Morozko’s meeting with the old woman’s daughter must be carried out in such a way that the children clearly feel the difference between her answers and the stepdaughter’s answers and perceive: the death of the old woman’s daughter as a loaded punishment for her disrespect, rudeness and anger. In Morozka's questions there will be increasing severity, and in the answers of the old woman's daughter - irritation, dissatisfaction, harshness.

Approximate preparation plan for expressive reading of the fairy tale “Morozko”

1. Idea: the inevitability of the triumph of good over evil.

2. Images: hardworking, kind stepdaughter; the rude, lazy and evil daughter of an old woman; treacherous and envious stepmother; stern, fair and generous

Morozko; a timid, unresponsive, downtrodden old man; talking dog.

3. Plot: a story about the fate of a stepdaughter.

4. Plot construction:

a) beginning - “Once upon a time,”

b) the plot - “So the stepmother came up with the idea to take her stepdaughter away from the world,”

c) the climax - “Get lost, damned Morozko”, d) denouement - the old woman cried, but it’s too late.”

5. Reading task: condemn the evil stepmother And her daughter, to inspire respect for her humble, hardworking stepdaughter; emphasize the poetry of the tale.

To make it interesting for a small child to listen to, it is advisable not to read fairy tales from a book, but to tell them. After all, it’s not for nothing that they are called “fairy tales,” because they are “told.”

6 Rules for Reading or Telling Fairy Tales to Children

1. “The Living Word” will give you the opportunity to look not at a book, but at a child. And if necessary, quickly respond to his emotions, pause, change intonation.
2. The method of storytelling will help you immerse yourself in the world of a fairy tale, delve into the meaning of what is being told, and learn to understand the characters. At the same time, gesture, facial expressions and voice will help convey events and the character of the characters.
3. The tale must be told as if the speaker himself was a participant in these events. If the fairy tale is not yet familiar to you, re-read it several times; it is not necessary to learn it word for word. It is important to convey the meaning of a fairy tale not only with words, but also with emotions.
4. When telling fairy tales, it is advisable to follow all traditions: start with the beginning and end with the ending.
5. At a time, children, depending on age, can read from 1-2 to 3-5 short poems, stories or fairy tales. It is very important to observe the measure so that the baby does not get tired and lose interest. You need to finish reading when the child asks for more reading (just as you need to get up from the table with a slight feeling of hunger).
6. From childhood, you need to lay the foundations of a reading culture. Therefore, each time you first need to introduce the child to the book: announce the author, title and genre of the work.

Communication with a book is not only a step towards developing a child’s imaginative thinking and intelligence. This is also an excellent educational tool!